19 is Adele's debut album. It was released on 28 January 2008, the week after the lead single, "Chasing Pavements", was physically released. It debuted at number one on the UK charts on its first week.The Japanese edition was released on March 5. As well as the standard tracklist, the album features three bonus tracks: "That's It I Quit I'm Movin' On" (Sam Cooke cover and "Chasing Pavements" B-side), "Now and Then" (Cold Shoulder B-side) and "Painting Pictures".The Indonesia special edition was released on March 3. As well as the standard tracklist, the album features a bonus video for "Chasing Pavements".

Release Notes:--------You’ve got to hand it to the Brits committee. It must be hard to think of newcategories – especially when, over in the States, the Grammys extend to awardsthat may well encompass Best R&B Performance By A Non-Asthmatic or Best SongRecorded In A Studio With On-Site Organic Juice Bar.

In a genius coup, though, 2007 saw the Brits introduce a prize rewarding artistsfor what they haven’t yet done but might go on to do. In three weeks, when shereceives the first Critics’ Award, Adele Adkins’s debut album will have been inthe shops for all of two weeks.

If we feel like we already know the musical territory where she resides, it’sprobably a post-Winehouse thing. Her nu-Amy status may seem a little too easilyconferred. And yet the cap fits in all sorts of unavoidable ways. Thestreet-smart London upbringing and the big ballsy soul timbre are both inevidence. And, like Winehouse, there’s something emphatically unreconstructedabout her view of relationships. Like much of the album, Best for Last waswritten after, to use her words, “I was cheated on”.

“Though I’m trying my hardest, you go back to her/ And I think that I knowthings may never change,” she sings, confessing, “The meaner you treat me/Themore eager I am.”

In other words, she wants to stand by her man, but finding a man to stand by isproving difficult. What recurs time and time again – especially on Daydreamerand Make You Feel My Love – is its author’s appetite for the search.

A cursory listen may lead you to conclude that Adele has a voice way in excessof her years. In terms of technical ability, that’s true. The instrumentationseems designed to usher you to that conclusion: a dash of jazz bass, the oddstring arrangement that seems to take its cue from Massive Attack’s UnfinishedSympathy.

But this is really a series of cries from the bearpit of young love, and nonethe worse for that. Indeed, no one has put words and music to the long, wet,workaday Tuesday afternoons of unrequited love as well as she does on Crazy forYou. When, on Cold Shoulder, she sings “Whenever you look at me, I wish I washer”, you feel like bringing her a mug of warm sweet milk and a saucer ofHobNobs, before trying to convince her that no man is worth this sort ofheartache. She may well agree. But would she believe it if you told her that noalbum is worth this sort of heartache? Probably not. And, when you hear 19,neither will you.